Warner Bros (2013) Atlas Genius are schooled students of modern pop architecture, seamlessly bouncing from Coldplay-styled acoustic rock to fizzy Phoenix funkiness to deadpanned Strokes-ian guitar chug. But When It Was Now is more like an alt-pop NOW compilation than a joyous synthesis.

Fat Possum Records (2013) With the frustrating and often brilliant II, these oddball psych-pop New Zealanders have sunk even deeper into the swampy digs of why-fi — as in, "Why the hell tarnish such excellent songs with such half-assed fidelity?"

Universal Republic (2012) Modern R&B is, no doubt, in the midst of an experimental renaissance — artists like Frank Ocean, Drake, the-Dream, and even Usher are expanding the genre's sonic playbook by going darker and weirder, incorporating elements of dance-pop, trip-hop, and warped indie rock.

Reprise Records (2012) Deftones' brand of metal is artful and spacey, patient and textured: Stephen Carpenter's de-tuned distortion washes over like menacing storm clouds; Abe Cunningham's dextrous drumming takes cues from both hip-hop and prog; and, at his most melodic, Chino Moreno is the greatest art-rock vocalist on the planet.

Matador Records (2012) It has taken a decade, but Paul Banks has finally written his mission statement in song: "Death will come by ocean, I want that guarantee," he sings on "I Paid for That," a propulsive cut from his debut solo album.

Glassnote (2012) Three years ago, London folk-rock quartet Mumford & Sons blew up in a major way with "The Cave," an angst-fueled, Grammy-nominated strummer built on quiet-loud dynamics, Country Marshall's propulsive banjo, and Marcus Mumford's gruff bellow, which churned like a locomotive in free-fall.

Warp (2012) The initial moments of "Sleeping Ute" are so quintessentially Grizzly Bear, they almost have no impact — Daniel Rossen nurses jagged, staggering chords on an electric guitar likely purchased from a 12th-century pawn shop.